Fantasy creatures, nymph-like beings, and lush scenes of nature populate Kristina Collantes' drawn world.

By Matthew Newton | Senior Editor

As a quiet kid, Kristina Collantes immersed herself in Nickelodeon and Merry Melodies cartoons. It's what helped inspire the tweaked-out visuals she creates today as a professional illustrator. After her family moved from the Philippinnes to San Diego in 1997, it took time for Collantes to acclimate to her new surroundings, and she was somewhat withdrawn because she spoke so little English. "The lack of school chums resulted in many hours of quality time with the television," she says. "I'm glad that I became obsessed with television around that time. Morning cartoons were so golden." As an adult, Collantes' considerable skill as an illustrator has led to work with clients such as GQ, The Flaming Lips, and Threadless. And her drawings are regularly featured in comics publications like DUMDUM and Meathaus.
What got you interested in illustration?

When I was younger, I thought that I wanted to be a seamstress like my mother. She was an excellent pattern maker, and I would often copy her fashion illustrations while she was working. I drew all the time because of her. I guess this is where it stems from for me. Since first experiences with illustration were comforting, I always tried to include it in my daily itinerary. The hobby grew into something much larger when I was about 18 years old, after I discovered the wonderful world of freelancing. My first paid gigs were commissioned by friends who were in touring bands. I made a lot of fliers and posters and eventually gathered enough work to start a website and here I am now. I still draw everyday. Thanks, mom!
You're self taught. Can you tell me what that process was like and how you learned?

The process involved a simple routine of drawing everyday or as much as I can. It's a tedious practice, but it teaches you how to become a better editor, which is just as important as being a better illustrator. I wake up as early as 5 a.m. sometimes to work on illustrations. On more boring and uninspired days, I just draw what's in front of me, but I think my favorite exercise is character design.
You were born in the Philippines. When did you move to America, and how did that influence you?

My family relocated to San Diego in 1997. I was 10 years old and was in a new alien environment. Everything was scary. I was really quiet in school mainly because my English was limited. The lack of school chums resulted in many hours of quality time with the television. I was heavily immersed in Nickelodeon cartoons and Merry Melodies and would often draw my favorite characters. Wilfred Jackson is a big influence and I think that the humor in my work derives from his Silly Symphony series. I'm glad that I became obsessed with television around that time. Morning cartoons were so golden.
There's an emphasis on fantasy creatures, nymph-like beings, and lush scenes of nature in your work. What do you like to draw, and what informs the choices you make when drawing?

In an ideal world I would be drawing plant/human hybrids all the time. I love drawing creatures with shrubbery growing on them. I illustrate these creatures first and foremost because I fantasize about seeing on lurking in my garden. I grew up surrounded by farms and stories of mythological creatures and for the longest time believed in fairies and nymphs.  It obviously had an effect on my work. Even with editorial projects I'm tempted to add foliage to portrait subjects. Its not always an appropriate add-on, unfortunately.
Your client list is varied: GQ, The Flaming Lips, Threadless. How much of your time is spent on commercial-based work? And how much is devoted to more personal projects?

I currently spend more time on commercial work. I'm accepting more portraiture assignments and editorial jobs because my portfolio is starting to look like personal work land. It's been great working with art directors again.
The portraiture projects have been eye-opening experiences for me. I'm slowly learning how to capture personalities underneath facial features. Personal projects are on a short hiatus. I would love to get back to adding more pieces to my X-Ray series someday.  

What can you tell me about your comics? Are you producing these as a regular series, or are they more of a one-shot production?

I write and draw comics to show friends for casual shits and giggles. They're on a somewhat regular publication, but most of them never make it to my portfolio because they're at times personal. I think of them as illustrated inside jokes.
Your x-ray series is really weird and wonderful. Was this commissioned work or personal, and how did the idea come about?

The X ray series started as a personal project after I became enamored with medical illustrations. I found skeletal structures interesting. I wanted to make my own creatures with mixed organs and bone structures that made absolutely no sense.  
What projects are you currently working on?

I am currently working on a portrait of the band Cibo Matto for The New Yorker. This project is very enjoyable. The art director let me include as much foliage as I wanted!. I am also participating in the Momentus Project, which was started by Evan Stremke. Illustrators were asked to interpret a defining moment in U.S. history and I was assigned the women's suffrage movement. My contribution is a portrait of Inez Milholland Boissevain during the National American Woman Suffrage Association parade. It will be published on the project website (http://momentusproject.com/) on Thursday, June 30. Next week I will start on a t-shirt line collaboration, which I am super excited for. Expect lots of plant designs!
Pictured above: Kristina Collantes's studio in west Los Angeles, California.
Pictured above: The illustrator's studio during a children's book project.
Pictured above: Kristina's super tidy workstation. Closely guarded by Clint Eastwood and a stuffed toy mitochondria.